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27/10/2010

William Kentridge

Albertina, Wien

curated by Monika Faber

William Kentridge: Five Themes, a comprehensive survey of the contemporary South African artist's work, will open at the Albertina October 29th, 2010. Featuring more than 60 works in a range of media - including animated films, drawings, prints, theater models, sculptures, and books - the exhibition is co-organized by SFMOMA and the Norton Museum of Art in West Palm Beach, Florida. In close collaboration with the artist, the exhibition explores five primary themes that have engaged Kentridge over the past three decades.

Although the exhibition highlights projects completed since 2000, it will also present, for the first time, Kentridge's most recent work alongside his earlier projects from the 1980s and 1990s - revealing as never before the full arc of his distinguished career. William Kentridge: Five Themes is organized by the San Francisco Museum of Modern Art and the Norton Museum of Art. Generous support for the exhibition is provided by the Koret Foundation. Additional support is provided by the National Endowment for the Arts.

The Five Themes

"Parcours d'Atelier: Artist in the Studio"
The first section of the exhibition examines a crucial turning point in Kentridge's work, one in which his own art practice became a subject. According to the artist, many of these projects are meant to reflect the "invisible work that must be done" before beginning a drawing, film, or sculpture. This theme is epitomized by the large-scale multiscreen projection 7 Fragments for Georges Méliès (2003), an homage to the early French film director, who, like Kentridge, often combined performance with drawing. The suite of seven films—each depicting Kentridge at work in his studio or interacting with his creations—has only been shown once before in the United States and will be accompanied by a rarely seen group of related drawings, forming an intimate portrayal of the artist's process.

"Thick Time: Soho and Felix"
A second section of the exhibition is dedicated to Kentridge's best-known fictional characters, Soho Eckstein, a domineering industrialist and real estate developer whose troubled conscience reflects certain miens of contemporary South Africa, and his sensitive alter ego, Felix Teitlebaum, who pines for Soho's wife and often functions as a surrogate for the artist himself. The centerpiece of this section, an ongoing work entitled 9 Drawings for Projection, comprises nine short animated films: Johannesburg, 2nd Greatest City after Paris (1989), Monument (1990), Sobriety, Obesity & Growing Old (1991), Mine (1991), Felix in Exile (1994), History of the Main Complaint (1996), WEIGHING . . . and WANTING (1998), Stereoscope (1999), and Tide Table (2003). These projections, along with a key selection of related drawings, follow the lives of Soho and Felix as they struggle to navigate the political and social climate of Johannesburg during the final decade of apartheid. According to Kentridge, the Soho and Felix films were made without a script or storyboards and are largely about his own process of discovery.

"Occasional and Residual Hope: Ubu and the Procession"
In 1975 Kentridge acted in Ubu Rex (an adaptation of Ubu Roi, Alfred Jarry's satire about a corrupt and cowardly despot), and he subsequently devoted a large body of work to the play. He began with a series of eight etchings, collectively entitled Ubu Tells the Truth (1996), and in 1997 made an animated film of the same name, as well as a number of related drawings. These works also deal with the South African experience, specifically addressing the Truth and Reconciliation Commission hearings set up by the nation's government in 1995 to investigate human rights abuses during apartheid. Other highlights in this grouping include the film Shadow Procession (1999), in which Kentridge first utilizes techniques of shadow theater and jointed-paper figures; the multipanel collage Portage (2000); a large charcoal-and-pastel-on-paper work entitled Arc Procession (Smoke, Ashes, Fable) (1990); and some of the artist's rough-hewn bronze sculptures.

"Sarastro and the Master's Voice: The Magic Flute"
A selection of Kentridge's drawings, films, and theater models inspired by his 2005 production of the Mozart opera The Magic Flute for La Monnaie, the leading opera house in Belgium, will be a highlight of the exhibition. The artist's video projection Learning the Flute (2003), which started the Flute project, shifts between images of black charcoal drawings on white paper and white chalk drawings projected onto a blackboard, forming a meditation on darkness and light. Preparing the Flute (2005) was created as a large-scale maquette within which to test projections central to the production of the opera. Another theater model, Black Box/Chambre Noire (2006), which has never been seen in the United States, addresses the opera's themes, specifically through an examination of the colonial war of 1904 in German South-West Africa, and of the genocide of the Herero people. What Will Come (has already come) (2007), a consideration of colonialism in Ethiopia, presents an anamorphic film installation in which intentionally distorted images projected onto a tabletop right themselves only when reflected in a cylindrical mirror. This work was recently acquired, under the guidance of Rosenthal, by the Norton Museum of Art.

"Learning from the Absurd: The Nose"
The fifth section comprises a multichannel projection made in preparation for Kentridge's forthcoming staging of The Nose, a Metropolitan Opera production that will premiere in New York in March 2010. The Nose—a 1930 Dmitri Shostakovich opera based on Nikolai Gogol's absurdist short story of 1836—concerns a Russian official whose nose disappears from his face, only to turn up, in uniform, as a higher-ranking official moving in more respected circles. Kentridge's related work, I am not me, the horse is not mine (2008), on view in the United States for the first time, is a room-size installation of projected films that use Gogol's story as the basis for examining Russian modernism and the suppression of the Russian avant-garde in the 1920s and 1930s.

Image: William Kentridge, Self-Portrait (Testing the Library), 1998
Sammlung von Brenda Potter und Michael Sandler © 2008 William Kentridge. Foto mit freundlicher Genehmigung der Marian Goodman Gallery, New York

Press Department
Mag. Verena Dahlitz (head) T +43 (01) 534 83 - 510 , M +43 (0)699.121 78
720, v.dahlitz@albertina.at
Mag. Barbara Prikoszovits T +43 (01) 534 83 - 511 , M +43 (0)699.109
81743, b.prikoszovits@albertina.at

Press conference October 28, 2010, 10a.m.
Opening October 28, 2010, 6:30 p.m.

Albertina
Albertinaplatz, 1 Wien Austria
Hours: Thur-Tue 10a.m.-6 p.m., Wed 10 a.m.-9 p.m.
Admission € 9,50, € 8,00 Students (up to age 26)
€ 7,00 Children and young, people (under 19 years)

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